Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.
In 2020 Sunnyboys will celebrate 40 years since their inception (though a mere 12 years of actual existence) via a new release SUNNYBOYS 40 that brings together the first ever re-release of the band’s much loved 1980 eponymous debut 7” - featuring the original version of the classic Alone With You - alongside four new recordings culled from the archives of chief songwriter Jeremy Oxley.
Recorded over two days in October 1980 and released via independent Sydney label Phantom Records on December 31st the same year, the four songs featured on the EP were essentially the first songs Jeremy Oxley had presented to the band on his arrival in Sydney from Kingscliff just a few months earlier. Alongside Alone With You they included Love to Rule, What You Need & The Seeker.
The debut ‘yellow’ ep was an instant underground smash selling out its initial pressing of 1000 copies in just 2.5 weeks. A further pressing of 1000 would follow but then all further attempts of a repress were quashed when the ep master mysteriously disappeared after band signed to Mushroom Records in February 1981. The tapes having never been recovered these masters have been taken from the cleanest vinyl available and appear here for the first time ever outside the 7” ep format and that limited run of 2000.
Fast forward 40 years (as you do) and Sunnyboys are enjoying a renaissance rarely seen for any band from any era. In truth their popularity now eclipses what it did in 1980-1984 with each successive tour selling more tickets and faster than the tour previous. Why not then give the people new music?
Part 2 of Sunnyboys 40 was recorded between touring commitments in 2018 at Airlock Studios, Brisbane. Overdubs were added over the following twelve months at locations in Sydney & Brisbane and the mixing completed in the summer of 2019 by current in-demand producer Konstantine Kerstin. The idea being to tackle some material Jeremy had written for other projects post-1984 and to complete some unfinished business from back in the band’s original lifespan.
Can’t You Stop is a reworking of a song Jeremy recorded as The Fisherman in 1986. The short-lived trio were Jeremy’s immediate post-Sunnyboys band and the original version was released on the Waterfront label the same year. In this guise Can’t You Stop features an all new arrangement plus those trademark Sunnyboys harmonies.
Lovers (On Another Planet’s Hell) meantime, is a reworking of a track from the Sunnyboys third album Get Some Fun. The original version featuring a 4/4 beat often referred to as the “AC/DC beat” which never sat well with the band. The opportunity to readdress that all these years later proving irresistible. The added keyboards of Alister Spence and brass playing of Eamon Dilworth and young Nico Oxley (Peter’s son) also adding a new dimension to the original.
Strange Cohesion was actually written post-Get Some Fun in 1984 and was performed by the band regularly during their final tour. It would feature on the band’s swansong release, 1984’s Real Live but was never recorded in the studio. 40 gives the track its recorded debut and gives some small hint as to what Sunnyboys album no.4 may have sounded like.
Originally released as a solo recording back in 1991 under the banner Jeremy ‘Ponytail’ Oxley Way After Five shares perhaps the strongest relationship to the ‘40’ concept. Jeremy’s voice at times just a croak - a by-product of the life he has lead for much of last 40 years - adding further poignancy to the songs lyric; and it’s another Oxley classic.
And what better way to celebrate both the new release and the milestone anniversary than by doing what Sunnyboys do best - play live! And so Sunnyboys hit the east coast this February including first time ever shows in Torquay and for Sydney’s Twilights @ Taronga. Special guests Painters & Dockers will join Sunnyboys for the shows in Victoria while garage rockers Rocket Science will join the birthday boys in Sydney.
“We really didn’t think we would ever play again as a band. But wow, we have and we sure are having a bloody great time doing it.” - Peter Oxley
The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)
The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.
About The Thirteenth Trip:
Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”
You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.
“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.
Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.
John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.
Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.
Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.
By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.
Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.
The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)
The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.
About The Thirteenth Trip:
Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”
You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.
“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.
Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.
John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.
Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.
Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.
By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.
Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.
Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.
These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.
Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”
But the studio records are just the tip of the iceberg.
You see, in a live setting Forsyth’s music is never really finished.
He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.
These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.
Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.
But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.
Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.
Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.
Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.
As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.
Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).
This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.
ORDER was founded in 2013 by Anders Odden, Rene Jansen, Kjetil Manheim and Billy Messiah, the group respectively responsible for early-stage Norwegian death metal (Cadaver) and the origin of the Norwegian Black metal (Mayhem). In 2014, Jansen sadly passed away, leaving the project unrealized. The remaining members decided to move forward despite the setback. In 2015 Stu Manx (f. Gluecifer) joined the band and set the band back on its quest to make unpolished raw black metal for the 21st century. To honor Jansen the band released the demo tape ‘Folly Grandeur’ - with rehearsal recordings the following year - and the debut album ‘Lex Amentiae’.
It has been four long years since then, and they are now finally ready to release their long-awaited second studio album, ‘The Gospel’. This time showing the world what strong recipe the current lineup represent. While the band was very satisfied with their debut album, according to the band The Gospel is on a totally different level. “This time we have arrived at a place where the creative flow truly feels unique and to the core of ORDER”, Kjetil Manheim says and continues. “In The Gospel you will meet us on a very personal level. In this record we open ourselves and invite you into our innermost, both musically and through the lyrics. If you ever wondered who we are, and where we come from musically this album is an answer.” Together again they made music that brought to life sounds from the early days, and with ‘The Gospel’ they have arrived in the energy field that fueled the early era where they first met; The Deathcrush era.
Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.
out of Stock
Last delivered 23 months ago available to reorder, subject to availability
ASESINO (Spanish for "assassin" or "murderer") is an American deathgrind supergroup and a side project of Fear Factory guitarist Dino Cazares. The band has featured members of Brujeria, Fear Factory, Sepultura, Sadistic Intent, Possessed, Ministry, and Static-X. ASESINO sometimes play Slayer covers live, most notably "Angel of Death" and "Raining Blood". As with Brujeria, the lyrics are sung entirely in Spanish and with the same subject matter of death, violence and perversion. Guitarist Asesino describes the band as "the new Brujeria." Asesino also has the tendency of making satirical comments during the show, and when playing Brujeria songs, change the original lyrics to something more fitting. ASESINO made a guest appearance as a group of Mexican doctors in episode 57 of ‘Metalocalypse' on 'Adult Swim'. ASESINO : ‘Cristo Satanico’ is the band most incisive, uncompromisingly horrific piece of work, now available with plenty of Exclusive studio and live bonus tracks. The band has been working on a new album for a 2022 release date.
At this stage in the game, the name Whitechapel commands respect. Already sitting on one of the most enviable catalogs in contemporary metal, in 2019 they dropped The Valley, showcasing a confident evolution in their sound and standing as a true landmark release that sets a new standard for the genre. In 2021, they return with that album's successor, the mighty Kin , which is an even more dynamic and diverse collection, further advancing the band's sound into new territory without losing sight of what brought them to this point. The commencement of writing for the album was a direct result of the Covid pandemic, the band having several tours lined up to finish out the cycle for The Valley, but when these got cancelled, they decided to refocus their energies and begin working on a new record. The result is a collection that explores a lot of sonic and emotional territory, and for the first time, it could be said that a Whitechapel record is as much a rock album as it is a metal one, an assertion guitarist Alex Wade agrees with. "It's still very much a metal album, I don't think you would hear any of the songs on mainstream radio, but there are elements of the record that have more of a rock and open vibe. We really wanted these songs to breathe and have life and to sound bigger than anything we've made so far. We have explored more singing on 'Kin' too. It wouldn't make sense to have the majority of the fanbase enjoy that sound and then shy away from it." This is not to say that the band have lost their hardest edges, with the full-on death metal assault that kicks off both "Lost Boy" and "To The Wolves" as brutal and serrated as extreme metal gets, and while vocalist Phil Bozeman explores his wide-ranging singing voice more, he also cuts loose with his trademark roar across the album's eleven tracks.
At this stage in the game, the name Whitechapel commands respect. Already sitting on one of the most enviable catalogs in contemporary metal, in 2019 they dropped The Valley, showcasing a confident evolution in their sound and standing as a true landmark release that sets a new standard for the genre. In 2021, they return with that album's successor, the mighty Kin , which is an even more dynamic and diverse collection, further advancing the band's sound into new territory without losing sight of what brought them to this point. The commencement of writing for the album was a direct result of the Covid pandemic, the band having several tours lined up to finish out the cycle for The Valley, but when these got cancelled, they decided to refocus their energies and begin working on a new record. The result is a collection that explores a lot of sonic and emotional territory, and for the first time, it could be said that a Whitechapel record is as much a rock album as it is a metal one, an assertion guitarist Alex Wade agrees with. "It's still very much a metal album, I don't think you would hear any of the songs on mainstream radio, but there are elements of the record that have more of a rock and open vibe. We really wanted these songs to breathe and have life and to sound bigger than anything we've made so far. We have explored more singing on 'Kin' too. It wouldn't make sense to have the majority of the fanbase enjoy that sound and then shy away from it." This is not to say that the band have lost their hardest edges, with the full-on death metal assault that kicks off both "Lost Boy" and "To The Wolves" as brutal and serrated as extreme metal gets, and while vocalist Phil Bozeman explores his wide-ranging singing voice more, he also cuts loose with his trademark roar across the album's eleven tracks.
Cinema Paradiso is proud to present the Ghost World soundtrack, released on vinyl for the very first time, as a double gatefold LP.
A film adaptation of the popular Daniel Clowes comic of the same name, Ghost World starred Scarlett Johannson, Thora Birch and Steve Buscemi, becoming a critically acclaimed cult favourite immediately upon its release in 2001. As he did with Crumb, director Terry Zwigoff has created a soundtrack as eclectic and riveting as his movie subjects. The sounds of early jazz and blues play a crucial role in the events of Ghost World - the music heard here is some of the best ever recorded.
Skip James's classic "Devil Got My Woman" from 1931 may be the best-known work on this soundtrack, but it hardly steals the show. Three tracks from weird but riveting jazz-meets-calypso bandleader Lionel Belasco are included; the 70-year-old recordings are so original, they sound timeless. The same praise can be stated of film opener "Jaan Pehechaan Ho" a Bollywood rarity that has elements of surf music, funk, and garage rock. Of course, we also have to hear "Graduation Rap" and Blueshammer's "Pickin' Cotton Blues" two intentionally bad contemporary tracks that make the characters in the movie (and anyone listening to this soundtrack) feel out of place in today's pop culture.
Zwigoff wisely fills out the LP with tracks from his personal 78 record collection, a mix of '20s and '30s string band and blues tunes that are seldom found in compilations (including great cuts by the Dallas String Band, Joe Calicott, and McGee Bros).
The haunting "Theme from Ghost World" composed by David Kitay, finishes off the second LP, perfectly capturing all the bittersweet moods found in the film.
Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.
Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab,
- Joshua Levine
Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak
The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.
For years fans have been eagerly waiting for the release of ‘The Awesome Album’ by Pawnee, Indiana rock band Mouse Rat.
The band is fronted by Parks and Recreation Shoeshine Department Employee Andy Dwyer (Chris Pratt), who has led many local acts through the years such as Angelsnack, Everything Rhymes With Orange, Department of Homeland Obscurity, Just The Tip and Scarecrow Boat, among others.
The hits are all here: “5,000 Candles In The Wind,” “The Pit,” “Two Birds Holding Hands,” “Catch Your Dream (feat. Duke Silver)” and two additional tracks by the Scott Tanner (Jeff Tweedy)-fronted band Land Ho!. ‘The Awesome Album’ is sure to satisfy the millions of Mouse Rat fans across the globe. The Awesome Album features music from the Universal Television original series Parks and Recreation.
With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. VILDHJARTA's down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Yet, the Swedish collective’s long-awaited album, måsstaden under vatten, is far more than a recitation of djent values. Clocking in at 80 minutes, it thematically picks up where the dark Swedish fable of 2011’s Måsstaden left off and delivers on the promise that record hinted at. Tracks like the recently released “när de du älskar kommer tillbaka från de döda” (“When the Ones You Love Return From the Dead.”) suggest a newfound subtlety and sophistication amidst the bombast and beauty in the breakdown.
Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album with drummer and now noted producer, Buster Odeholm (Born of Osiris, Shadow of Intent, Humanity’s Last Breath) heavily involved in the production, mixing and mastering of the music. Visual artist Rickard Westman, who did art for VILDHJARTA's debut as well as their Thousands of Evils EP in 2013, has also returned to the equation to reprise his disturbing visual iconography. Says the band: “Art happens when art happens.”
The sound of music is rarely this challenging, unforgettable and worth the wait.
Swedish power trio MONOLORD return with their highly anticipated new album, Your Time to Shine. Recorded by MONOLORD drummer Esben Willems at Studio Berserk, Your Time to Shine sees the trio looking inward, cultivating the elements that take their monstrous, heavy riffing to new heights with a darker edge. A five-track journey that spans across crushing doom rock to more spacey, groove laden opuses, Your Time to Shine is MONOLORD at their most unfiltered and focused. Out of the gate, MONOLORD kick-off a wild ride with the soaring, fist-raising opener “The Weary” and its insanely catchy melodies. Elsewhere, the stop/start switch between sweetness and abrasiveness of “To Each Their Own” showcases a new element to the band’s repertoire. MONOLORD embraces the power of the riff with pulsating chugs on “I’ll Be Damned” and the mind-expanding title-track, whose final section brings back some of the band's spaced-out rock n’ roll beginnings. Everything culminates in their new epic, “The Siren Of Yersinia”, whose lonesome call can be heard in each feedback-ridden note and in each pained, buried vocal line. Your Time to Shine is yet another turn for MONOLORD. While the band clearly stays on “Riff Street”, they are poised to find darker avenues.
Swedish power trio MONOLORD return with their highly anticipated new album, Your Time to Shine. Recorded by MONOLORD drummer Esben Willems at Studio Berserk, Your Time to Shine sees the trio looking inward, cultivating the elements that take their monstrous, heavy riffing to new heights with a darker edge. A five-track journey that spans across crushing doom rock to more spacey, groove laden opuses, Your Time to Shine is MONOLORD at their most unfiltered and focused. Out of the gate, MONOLORD kick-off a wild ride with the soaring, fist-raising opener “The Weary” and its insanely catchy melodies. Elsewhere, the stop/start switch between sweetness and abrasiveness of “To Each Their Own” showcases a new element to the band’s repertoire. MONOLORD embraces the power of the riff with pulsating chugs on “I’ll Be Damned” and the mind-expanding title-track, whose final section brings back some of the band's spaced-out rock n’ roll beginnings. Everything culminates in their new epic, “The Siren Of Yersinia”, whose lonesome call can be heard in each feedback-ridden note and in each pained, buried vocal line. Your Time to Shine is yet another turn for MONOLORD. While the band clearly stays on “Riff Street”, they are poised to find darker avenues.
Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.
Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.
The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.
Additionally, the band are about to embark on a series of very special three night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.
Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.
Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.
The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.
Additionally, the band are about to embark on a series of very special three-night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.
The Fabulous Counts were originally a teenage instrumental group of five musicians, Mose Davis (Organ and Piano), Demetrius ‘Demo’ Gates (Alto Saxophone and vocals), Jim White (Tenor Sax), Andrew T. Gibson (Drums) and Raoul Keith Mangrum (Percussion and Flute) who were later joined by the older, more experience Leroy Emanuel (Guitar and vocals). Emmanuel was invited into the group as it’s band leader by the groups manager Fred McClure, a former Detroit boxing champion who also happened to be the manager of another popular Detroit group the singing Metro’s of the hit recording “Sweetest One” fame and their subsequent respected RCA album of the same name. The Fabulous Counts would often perform at shows as the Metro’s backing band.
The Fabulous Counts first big break came after knocking several Detroit Record labels doors. They were eventually invited in by Ollie McLaughlin’s Moira studio to record, under the tutelage of Popcorn Wylie the one take hit “Jan, Jan (Moira-103). A further two Moira 45’s followed of which “Get Down People/Lunar Funk “(Moira-108) also scored high on the R&B charts. Through a deal arranged by McLaughlin The Counts released their respected “Jan, Jan” album on the Atlantic distributed Cotillion label in 1969. Moving on to Armen Boladian’s Westbound label, during 1970 the group simply changed their name to The Counts and charted with their 1971 “What’s Up Front” Westbound album, also releasing a solitary 45 “Thinking Single/Why Not Start All Over Again”. In 1972 while still part of the Westbound set up The Counts recorded two major label 45’s under the pseudonyms of Bad Smoke “Crawl Ya’ll Part 1&2” (Chess-2124) and Lunar Funk “Mr Penguin Part 1&2” (Bell 45-172), the latter being thier biggest hit. A subsequent move to Atlanta, GA saw The Counts sign with Michael Thevis’s Aware records where they recorded a further two successful albums “Love Sign” (1973) and “Funk Pump” (1975), plus a string of 45’s. In 1976 although officially never breaking up The Counts members went their separate ways to explore different life opportunity’s.
During 1978 and while still in Atlanta Leroy Emanuel borrowed money from his family and reuniting with his fellow Counts, Mose, Demo, and Jimmy Jackson Jr, they, accompanied by a local strings section recorded a session of material that spawned two songs “What’s It All About” and “Motorcity”. Which Leroy later made a deal with Terry Mendelson to release on a 45 on his TM label. The Counts had previously known Mendelson through his brother Bernie at Westbound. The TM 45 made very little noise with many of the copies having mispressed labels. Although later reissued and mistakenly credited as two previously unissued Westbound recordings on several latter Cd compilations it came to light that quite a few avid European soul collectors actually owned copies of this high quality, very elusive and desirable 45! With demand still seemingly high it seems a good time for Soul Junction to reissue it. The A-side, “What’s It All About” features its composer Leroy Emanuel on lead vocals with the other Counts adding to the backing chorus. The flipside of this 45 from the same session is the previously unreleased Mose Davis penned “Watch The Clock” which is more in keeping with the Counts traditional funk groove, enjoy.
The War On Drugs first studio album in four years, ‘I Don’t Live Here Anymore’. Over the last 15 years, The War on Drugs have steadily emerged as one of this century’s great rock and roll synthesists, removing the gaps between the underground and the mainstream, between the obtuse and the anthemic, making records that wrestle a fractured past into a unified and engrossing present. The War On Drugs have never done that as well as they do with their fifth studio album, ‘I Don’t Live Here Anymore’, an uncommon rock album about one of our most common but daunting processes—resilience in the face of despair.
Just a month after The War On Drugs’ ‘A Deeper Understanding’ received the 2018 Grammy for Best Rock Album, the core of Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca retreated to upstate New York to jam and cut new demos, working outside of the predetermined roles each member plays in the live setting. These sessions proved highly productive, turning out early versions of some of the most immediate songs on ‘I Don’t Live Here Anymore’. It was the start of a dozen-plus session odyssey that spanned three years and seven studios, including some of rock’s greatest sonic workshops like Electric Lady in New York and Los Angeles’ Sound City. Band leader Adam Granduciel and trusted co-producer/engineer Shawn Everett spent untold hours peeling back every piece of these songs and rebuilding them.
One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez — convened to record the affecting album opener “Living Proof.” Typically, Granduciel assembles The War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of the most personal songs Granduciel has ever written.
The War On Drugs’ particular combination of intricacy and imagination animates the 10 songs of ‘I Don’t Live Here Anymore’, buttressing the feelings of Granduciel’s personal odyssey. It’s an expression of rock ’n’ roll’s power to translate our own experience into songs we can share and words that direct our gaze toward the possibility of what is to come.
This lost cold wave artist self-released a sought after 7” single in 1980 - Music 2 Dance 2 - and a 12” EP Sunset on Illuminated Records in 1982. In 2008 German label Anna Logue released an EP of unreleased songs that quickly sold out. Spöön featured on Cherry Reds Close To The Noise Floor compilation (2016) examining innovative U.K. electronica released between 1975 and 1984.
The music on these releases showcase Spöön's unique style that blended together art rock, drum machines, guitar, bass, washes of synthesisers and a compelling vocal style.
Spöön Fazer took to the stage over 30 times between 1980 and 1982 at venues ranging from the famous New Romantic haunt the Blitz Club to the Mind, Body and Spirit Festival at Olympia. He either appeared solo singing to pre-recorded music or with his backing band the In-Sect.
OM Swagger brings you a collection of material collated from Spööns personal tape archive. As well as tracks like Do Different Dances and Beat Dance Drumming that appeared on those hard to find recordings, we serve up unreleased tracks recorded between 1980 and 1982. Songs like Fall In Love With The East, Dancing In London, Samurai Dancing Party, Wish, Chan and Birthday show a more commercial side that never made it onto vinyl. These tracks are on a par with music released at the time by artists like Blancmange and John Foxx.
Aptly named Alternative Regression Therapy this 17-track compilation gives an insight into the lost world of Spöön Fazer detailing a career that started on a drum stool for punk band Whippets From Nowhere to a one-man crusade to enrich the cosmos with electronic music! Tracks like Michael, Row The Boat Ashore show that with the right backing Spöön might have
Continued over…
even hit the charts. Spöön even turned down the opportunity to become the drummer for the Thompson Twins just before they hit the big time.
Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and finding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience. + RECORDED DURING MINUS THE BEAR'S 2018 FAREWELL TOUR + 2021 MARKS THE 20TH ANNIVERSARY OF THE FORMATION OF MINUS THE BEAR + MIXED BY MATT BAYLES (SOUNDGARDEN, PEARL JAM, MASTODON, THE SWORD) + MASTERED BY ED BROOKS AT RESONANT MASTERING (R.E.M., DEATH CAB FOR CUTIE, FLEET FOXES) + FIRST AND ONLY OFFICIAL LIVE RELEASE FROM MINUS THE BEAR + RETAIL EXCLUSIVE VARIANT ON CUSTOM OPAQUE GREY VINYL LIMITED TO 1,900 COPIES + 3xLP PACKAGE COMES IN TRIPLE GATEFOLD SLEEVE WITH SPOT INKS + 3xLP PACkAGE INCLUDES PRINTED INNER SLEEVES WITH METALLIC SPOT INKS + 3xLP INCLUDES A DOWNLOAD COUPON
On “Pleasure & The Pain”, the band’s 12th studio album, SAGA presents a much more edgy and tougher side than on their preceding albums. For SAGA quite unusual, the guitar as the leading instrument dominates most of the tracks, powerful riffs take the place of former extensive keyboard parts. At that time, the band was searching for a new contemporary SAGA sound while sticking to their trademark components. “Pleasure And The Pain” is clearly among the most exceptional works of SAGA. Reissued as a Heavyweight Black Vinyl Gatefold Edition “Pleasure & The Pain” will be available on vinyl for the first time ever and features the stunning cover version of Peter Gabriel’s „Solsbury Hill“ as an exclusive bonus track as well as personal liner notes by Ian Crichton.
Founded in 2014 in Berlin by The Oath front woman Johanna Sadonis, the group first consisted of Cathedral, Angel Witch and Ladytron members. The debut album “Lucifer I”, penned by Johanna and Cathedra’s Garry Jennings and released by British label Rise Above Records, brought LUCIFER international recognition. With a shift of constellation within the band in 2016 and Johanna Sadonis’ move from Berlin to Stockholm, LUCIFER were ready for chapter two. In Nicke Andersson, notable for his groups The Hellacopters, Entombed, Imperial State Electric, Death Breath among others, Johanna found a new renowned writing partner. Relentless touring and recording have turned LUCIFER into an explosive live beast and a reliable source of timeless rock and roll.
LUCIFER wasted no time and used the pandemic to record yet another long player that rings in a new chapter and dives even further into the grande realms of colossal old fashioned rock, with a severe morbid twist. For this opus they entered guitarist Linus Björklund’s Studio Ryssviken for an even more heart pounding drum sound while continuing their work at The Honk Palace. They expanded their song writing partnership within the band and Johanna has not only penned the new material with Nicke but also with guitarist Linus, as well as guitarist Martin Nordin contributing. With “Lucifer IV” the group is proving furthermore to be steadily building their very own pillar of rock history, brick by brick. The first single to give you a glimpse of what’s to come is “Wild Hearses” - buckle up for a deliciously morbid sweet and heavy ride past tombs and churches!
“Lucifer IV” is available as Ltd. 180g Gatefold LP + CD (in deluxe hardcover gatefold sleeve), Ltd. CD Digipak and Digital Album
Overkill are an American thrash metal band, formed in 1980 in New Jersey. They are often called 'the Motörhead of thrash metal', based on their unique playing style, which was influenced by punk rock and the new wave of British heavy metal. They were also one of the first thrash metal bands to sign to a major label (having signed to Atlantic Records in 1986), and rose to fame as part of the genre's movement of the mid-to-late 1980s, along with the 'big four' (Metallica, Megadeth, Slayer and Anthrax) as well as Exodus and Testament. Overkill achieved their first mainstream success with their second studio album and Atlantic debut, Taking Over (1987) which acclaimed global praise & chart success. The band's next five studio albums were also on Atlantic —Under the Influence (1988), The Years of Decay (1989), Horrorscope (1991), I Hear Black (1993) and W.F.O. (1994) and were also successful on a global scale, making them one of the most successful East Coast thrash metal bands. Overkill now have nineteen studio albums under their belt and continue to tour the world to huge audiences still to this day.
A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!
Mad Not Mad is the sixth studio album by Madness. Originally released in September 1985, it marked a departure from the band’s original line-up, with keyboard player Mike Barson taking a break from the group after an astonishingly successful run of five hit albums in as many years.
Style-wise Mad Not Mad presented a more polished side of Madness and contains some of their most sophisticated and political song-writing. The first single, ‘Yesterday’s Men’ finds the band in a smooth, reflective mood, dealing with the dispossessed characters in and around Camden Town, and ’Sweetest Girl’ is a cover of the iconic Scritti Politti track, while ‘Uncle Sam’ is a classic Madness romp relayed through the narrative of a soldier’s experiences during World War II.
Within a few weeks of its initial release, NME listed ‘Mad Not Mad’ at number 55 on their list of the “100 Best Albums Of All Time” and it remains in its 2015 list of the “50 Best Albums Released in 1985”.
This LP reissue is pressed on 180g black vinyl and features brand new liner notes by Chrissy Boy, Chas Smash, Woody and Lee Thompson.
This career-spanning 3CD & 4LP collection (1970-1998), showcases the immense musical talents of Keith Emerson, Greg Lake and Carl Palmer.
The Anthology was produced in association with all three band members and the booklet contains extensive liner notes with new band interviews by legendary rock journalist Chris Welch.
The audio was mastered by world renowned rock studio engineer Andy Pearce.
Featuring tracks from all of their original albums: Emerson, Lake & Palmer, Pictures At An Exhibition, Tarkus, Trilogy, Brain Salad Surgery, Welcome Back My Friends To The Show That Never Ends, Works Volume 1, Works Volume 2, Works Live, Love Beach, Live At Nassau Coliseum ‘78, Black Moon, In The Hot Seat, Live At The Royal Albert Hall, Then & Now. Includes their global hit singles ‘Fanfare For The Common Man’ and ‘Lucky Man’.
SAGA’s tenth studio album ‘Steel Umbrellas’, released in May 1994, was one of the most unusual releases in their career. Only 24 months earlier, the band had come together again in their original line-up after a break of more than six years. Back together, they approached a more radical way in terms of composition and production than the public was used to. The band came up with an album featuring a number of outstanding titles like “Why Not?’, ‘Shake That Tree’, ‘I Walk With You’ and ‘Steamroller’, which made it onto the setlists of their live shows. ‘Steel Umbrellas’ will become available on vinyl for the first time ever, featuring the live version of „I Walk With You“ as a bonus track as well as personal liner notes by Jim Gilmour.
Dieses Jahr kommt die 25-jährige Jubiläumsausgabe des zehnten Studioalbums von R.E.M., New Adventures in Hi-Fi. Das 1996 erschienene Album war die letzte Studioaufnahme von R.E.M. mit Gründungsmitglied Bill Berry, der die Band im folgenden Jahr einvernehmlich verließ. Als fünfte Zusammenarbeit der
Band mit dem langjährigen Produzenten Scott Litt (Green, Out of Time, Automatic for the People und
Monster) experimentiert das Album mit neuen Klangtexturen, die von filmischen Bildern, dissonanten
Noten und eindringlichen Effekten geprägt sind. Der Platin-Seller enthält die Singles ”Electrolite”, ”E-Bow
the Letter” (mit Patti Smith) und ”Bittersweet Me” und ist mit einer Gesamtlaufzeit von 65 Minuten die
längste Studioveröffentlichung von R.E.M.. New Adventures in Hi-Fi erlangte Jahre nach seiner Veröffentlichung Kultstatus und wurde in mehreren Presserückblicken - und von den Bandmitgliedern selbst -
als eines der besten Alben im R.E.M.-Katalog eingestuft.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
Lily Konigsberg, Mitglied der beliebten Art-Rock-Band Palberta, lässt auf die Zusammenstellung ihrer frühen Solo-Aufnahmen mit dem Titel "The Best of Lily Konigsberg Right Now", die hauptsächlich aus Bandcamp- und Soundcloud-Veröffentlichungen stammen, nun ihr erstes richtiges Album folgen. Der Titel "Lily We Need To Talk Now" stammt aus einem Text, den sie vom Produzenten des Albums, Nate Amos von der Band Water From Your Eyes, erhalten hat. "Lily We Need To Talk Now" ist eine charakteristische, eklektische Sammlung von Popsongs, die in manchen Momenten an die gitarrengetriebene, punkige Atmosphäre ihrer Arbeit mit Palberta, an Dinge wie Sheryl Crow aus der Mitte der Achtziger und sogar an The Cure angelehnten Post-Punk erinnert. Ein Album, an dem Konigsberg seit 2016 langsam gearbeitet hat, indem sie die Songs im Laufe der Jahre überarbeitet und neu aufgenommen hat. Die elf Tracks umfassende Sammlung ist ihr erstes richtiges Album und durchweg eingängig, wie viele ihrer poppigen und klaren Indie-Rock-Songs, die sie in den letzten Jahren zu einer festen Größe im New Yorker Underground gemacht haben. Ihre Stimme dreht und wendet sich und umspielt ihre cleveren Wortspiele auf neue Art und Weise; es gibt Anklänge an Power-Pop, Pop-Punk und Downtempo-Introspektion, alles gespickt mit augenzwinkernden Ostereiern des Humors. Sie wird von vielen ihrer langjährigen Mitarbeiter unterstützt: Andrea Schavelli, mit der sie 2017 die Split-Scheibe "Good Time Now" veröffentlichte; Matt Norman, mit dem sie seit Jahren im Avant-Pop-Duo Lily And Horn Horse zusammenarbeitet; Paco Cathcart von The Cradle, der ihre 2020er EP "It's Just Like All The Clouds" produzierte; und Nina Ryser, mit der sie im gefeierten Art-Punk-Trio Palberta spielt. Aber es ist ihre Zusammenarbeit mit Amos, die die bemerkenswertesten Neuerungen mit sich bringt.
Sound & Color" ist das zweite Studioalbum der amerikanischen Rock-Soul-Alternative Band Alabama Shakes. Ursprünglich erschienen 2015 feiert die Band um Stimmwunder Brittany Howard nun den 6-jährigen Geburtstag ihres 4-fach mit einem Grammy ausgezeichneten Werk mit einer Special Deluxe Edition. Die Edition hat ein neues Artwork und enthält 7 Bonustracks. 1. Sound & Color 2. Don't Wanna Fight 3. Dunes 4. Future People 5. Gimme All Your Love 6. This Feeling 7. Guess Who 8. The Greatest 9. Shoegaze 10. Miss You 11. Gemini 12. Over My Head 13. Drive By Baby 14. Joe 15. Someday 16. Don't Wanna Fight (Live from Capitol Studio A) 17. Future People (Live from Capitol Studio A) 18. Dunes (Live from Capitol Studio A) 19. Over My Head (Live from Capitol Studio A)
Mystery Jets announce that their sixth studio album ‘A Billion Heartbeats’ will be released on 27th September on Caroline International. The band also release ‘Screwdriver’, the first single to be taken from the album.
Screwdriver is an uncompromising look at the rise of the rebranded alt-right in the UK, built around a powerfully positive message: "Fight them with love / then the world will be ours".
Lead singer Blaine Harrison says of the song, “Screwdriver is about the mechanics of intolerance. Looking back at times of economic instability in history, we see how easily deep chasms grow in society and the population seeks change wherever it is most convincingly promised. Conflict arises as cultures and belief systems clash, unwilling to accept one another’s place in society, because we are fed the rhetoric that our neighbours are those responsible for our problems: then inevitably nationalism once more raises its ugly head above the parapet. But whereas political agendas fuel divisiveness, music unites and reminds us of all that we have in common. The message of Screwdriver is not a pessimistic one - because perhaps faced with confrontation we can find understanding, and even maybe learn how to listen to, and love one another.”
Each room of the house in the video is a metaphor for the different sections of society in the UK. It wraps around the narrative of the song, that in order to overcome adversity, you have to “Fight Them With Love”. The visual showcases the song’s inherent message, clashing aggressiveness with tenderness, and culminates in showing after anger, we can always come together through love.
All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”
Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.
We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.
Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.
ABOUT
After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.
The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.
Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.
‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.
The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.
Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.
Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:
“I think my music provides space for me to say the things I can’t always say in real life.” says Virginia native songwriter and multi-media artist Corrinne James. “That’s what I love about songwriting—There’s room in music for all of the conversations that can’t exist in reality.”
While studying New Media and Cinematography at the University of Virginia, James created a secret Bandcamp under the alias Naomi Alligator, and began uploading her intimate home recordings online. Inspired by the sparse and confessional qualities of Liz Phair’s early portastudio recordings, James decided to create her own musical journal to share and process personal anecdotes.
Her modern folk production and poetic songwriting links the sounds of classic folk artists like Joan Baez and Steeleye Span to a 21st century context. James wrestles with guilt, purpose, and jealousy through vivid narratives in the songs that make up her vast self-releases. This fall, five years since her first upload and over a dozen releases later, James will share her new four-track EP, Concession Stand Girl, while making her debut on Carpark.
On the title track for Concession Stand Girl that opens the EP, James sings the inner monologue of an unappreciated ticket-taker at a high school football game. James plucks a sparkly banjo and sings details of the concession stand girl’s relationship to each of the spectators who must go through her to enter the game. “Although seemingly insignificant, the concession stand girl must interact with each spectator as they enter the football game. Despite being unable to physically see the game, inside of her head she narrates her relationship to the people at the game.” The track “Anywhere Else” sits in contrast to the rest of the EP, being the only song where James plays guitar instead of banjo.
The last song written for the EP, “Anywhere Else” describes the tense emotions that come from comparing yourself to others in the eyes of your partner. “The protagonist is convincing herself, as well as her partner, that she could leave at any moment. She doesn’t want to be taken for granted anymore.” “Big Blue World” is a touching closer to the EP, where James sings about finding her way back to the place that feels most like home. James examines the fleeting nature of ambition and asks what really creates the feeling of contentment. Describing the song’s lyrics James says, “You can achieve everything you want, but sometimes it doesn’t feel like anything compared to just feeling at home and feeling who you are deep down.”
“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”
Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.
The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.
“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”
Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.
The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.
Portico Quartet announce Terrain, a three-part suite drawing on American minimalism and ambient music alongside their own rich heritage as they explore new musical vistas
When Duncan Bellamy and Jack Wyllie – the driving force behind Portico Quartet got together in their East London studio in May 2020 and started work on the music that would become their new album, the world, or most of it, was in the midst of the first lockdown. The unique impact of the events of 2020 became the backdrop to their time composing and recording; causing them to take stock, re-think, and plot a new musical path.
Indian novelist Arundhati Roy expressed the sense of grief and rupture from the pandemic as "a portal, a gateway between one world and the next", and as they created the music that would become Terrainthey were drawn towards longer, slowly unfolding pieces, which are perhaps the most artistically free and also the most beautiful they have ever made.
These are compositions more in the lineage of Line and Shed Song (Isla/2009), Rubidium (Portico Quartet/2012) and Immediately Visible (Memory Streams/2019). Wyllie expands: "We've always had this side of the band in some form. The core of it is having a repeated pattern, around which other parts move in and out, and start to form a narrative. We used to do longer improvisations not dissimilar to this around the time of our second record Isla. On Terrain we've really dug into it and explored that form. I suppose there are obvious influences such as American minimalism, but I wasparticularly inspired by the work of Japanese composer Midori Takada. Her approach, particularly on 'Through the Looking Glass', where she moves through different worlds incorporating elements of minimalism with non-Western instruments and melodies were at the front of my mind when writing this music".
Terrain I, II & III are all subtly different, but a short rhythmic motif that repeats is the starting point in all three movements. There is a sense of a shared journey to all these pieces, they move throughdifferent worlds, with a sense of horizontal movement that lends the music real momentum. Terrain I was the first piece they worked on and it started with a hang drum pattern, improvised by Bellamy, who added cymbals and synthesiser. From there on it grew, Wyllie adding saxophone, another synthesiser section, strings. For Bellamy "It felt more like filmmaking than music making, a bricolage of conflicting, shifting signs, subtle tension and multiple narratives. Andrei Tarkovsky's 'Mirror' and British artist John Akomfrah's incredible 'Handsworth Songs' were pivotal points of reference for me." Wyllie expands the point. "There is a sense of conversation between us both, in that someone presents a musical idea, the other person responds to it with something else, which would then be responded to again... until it feels finished. These responses are often consonant with each other but there is also a dissonance to some of this work. The music slowly evolves through these shared conversations."
It is this sense of dialogue, both between the composers, and between tranquillity and a subtly unsettling melancholy, that makes Terrain such a powerful statement. One that speaks to both our interior and exterior worlds, to our own personal landscape, to our Terrain.
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In divided times, the power of music is undeniable. When that music is ferociously original and defiantly uplifting, the impact is even greater. Formed in Paris, December 2014, by Dublin-born singer/guitarist Gary Kelly and Parisian guitarist Steven Andre, MOLYBARON have swiftly become one of the most talked-about bands in the modern metal scene. With a sound that encompasses everything from state-of-the-art tech-grooves and anthemic metal to multi-layered atmospherics and giant, muscular hard rock riffs beyond, the band’s eccentric flair always sets them apart from the rest. From the infectious aggression and giant hooks of opener “Animals”, to the thunderous denouement of crushing closer “Ordinary Madness”, The Mutiny once again affirms MOLYBARON’s idiosyncratic identity and irresistible charms. As Metal Hammer UK put it: “Diverse and satisfying, The Mutiny is a banger!” The album was also declared Album of the Month in Rock Hard magazine. Kelly’s songwriting has hit new heights of ingenuity, and the ensemble performances of comrades Steven Andre (guitar), Sebastien de Saint-Angel (bass) and Camille Greneron (drums) are never less than precise, potent and bursting with personality. Right now, these fearless artisans are in a field of one, evoking the visionary fervour of bands like System Of A Down, Muse, Pain Of Salvation and Rush, while never sounding remotely like any of them. The Mutiny will be re-released by InsideOut Music/ Sony Music Entertainment and is available as 180g black Vinyl + 2page Insert, Ltd. CD Digipak and Digital Album.
What happens when you put four of the most creative musicians from the Norwegian jazz scene in lockdown? They create. In march 2020, when the corona pandemic forced Norway into lockdown, Flukten found their oasis. Flukten springs out of one thing - the will to create music. Flukten consists of musicians from some of the most critically acclaimed jazz groups in Norway: Hanna Paulsberg Concept, Atomic, Moskus, GURLS, Wako, Espen Berg Trio, Hullyboo, Skadedyr and Trondheim Jazz Orchestra.After Flukten's debut concert last year one music critic wrote: "if there is one band debut that really has left their mark in soul and heart, it is this".With a musical reference library filled with the likes of John Scofield, Joe Lovano, Per "Texas" Johansson, Salif Keita and Paul Motian, they take detours through hip hop, soul and folk music from all over the world. Here, all spontaneous whims can be cultivated and explored. Flukten gives you dirty jazz that makes you move, and soft, fine tuned jazz that makes you think. This is music that celebrates life and embraces the unbelievable. In February 2021, the four musicians entered the recording studio with the same open attitude as when they first jammed together. On Flukten`s debut album you hear saxophonist Hanna Paulsberg's eternal vocabulary and multifaceted tone unfold completely without compromises. You hear guitarist Marius Klovning somewhere in the middle of John Scofield, sharp soul, western and Norwegian folk music. Hans Hulbækmo's drumming is tempting to compare with the playing of a solo pianist in his melodic repertoire. Bassist Bárdur Reinert Poulsen drives everything with his punchy, hard swinging hand, but also provides us with emotional solos.Together, Flukten are an explosion of joyful playing from some of Norways most talented musicians. The songs of Flukten's debut album span from playful melodies to dissonant harmonies. Sometimes it's a composition based on a voice memo of someone humming. Other times we hear snapshots from improvisations in the vivid studio atmosphere. The music dances, other times it is like a soft caress. Suddenly they fly into ecstasy. This album is the sonic equivalent to jumping from a hot sauna and into cold water. The music wakes you up. This is music that could only appear this exact moment from these exact musicians. Maybe you spend hours lying on the floor, lost in a book. Maybe you get drunk, or you run into the woods? We all need to escape now and then.
